RICK OWENS AW26 女装 TOWER 巴黎

RICK OWENS 2026 秋冬女装系列｜RICK OWENS「TOWER」女装时装秀（巴黎女装周官方日程）｜2026-03-05｜巴黎 东京宫

「TOWER」的第二章。一月的男装秀同名，这次换成女装——依旧是东京宫，依旧灌满浓烟，但秀场从地面层移到了地下空间，模特从更深的黑暗里走出来，48 个造型，像一支从废墟里出发的队伍。

秀场的观众结构与男装不同：前排多了买手与造型师，气氛更安静，烟也更浓——Owens 似乎想让这场女装比一月那场更私密。48 个造型里有相当一部分是可以拆开穿的：长背心配短外套、皮裙配针织，这也是他反复强调的「两件式大衣」逻辑。同样的烟、同样的光、同一个场地，只是把「TOWER」从一句宣言变成了女装的实践。对 Owens 来说，主题不需要换，换的是身体与材质的关系。Rick Owens 说，他着迷于这个女人身上「人造与严谨的混合」：银幕上的性感符号、战时的人道主义工作者、以及更早的卡巴莱歌手。黛德丽在《摩洛哥》里那件天鹅绒羽绒外套（由 Jean Louis 设计）被 Owens 放大成「猛犸象」般的体量，用长毛羊皮做成，走动时整件大衣像活物。

材质仍然是他最在意的部分。Kevlar 被当作面料使用——这种纤维强度是钢的五倍，通常在防弹衣里出现；这一季的 Kevlar 在意大利科莫（Como）由一家三代做性能面料的工厂织成，做成无肩带的直筒长裙，表面有细微的光泽。皮革做成带纸袋腰的健身短裤、带搭扣的军装式外套；羊毛、丝绒与羊绒被揉皱、堆叠，形成柔软的体积。鞋仍然是厚底高靴，鞋面有多个工装口袋。

造型与妆发是这场秀的另一半。妆容由柏林艺术家 Bernardo Martins（Figa.Link）完成：粉与蓝的假睫毛、霓虹色的发丝、半剃的头发、以及尖长的甲片——Owens 说他要的是「阴沟里的老鼠」那种质感，而不是夜店小孩。这个处理让整场从「末世」变成「末世的派对」：衣服是盔甲，人却仍然在笑。

传播层面，这场秀的画面非常统一：烟、长毛大衣、厚底靴、霓虹睫毛。它不需要解释就能被识别，也适合被剪成短视频。对案例库来说，它示范了「同一主题做两季」的方法——男装与女装共享同一个装置语言（烟、光、东京宫），但用材质与造型的差异把两个故事分开。

RICK OWENS "TOWER" womenswear show 5 March 2026 — Paris Fashion Week official calendar Venue: Palais de Tokyo, 13 Avenue du Président Wilson, Paris Agency: LamodeenImages Source: public information published by lamodeenimages.

The second chapter of TOWER. The men's show in January carried the same title, and this time the collection was womenswear — still at the Palais de Tokyo, still filled with smoke, but moved into the building's underground chamber, so that the models emerged from a deeper darkness. Forty-eight silhouettes, like a column setting out from ruins.

The audience differed from the men's show: more buyers and stylists in the front row, a quieter mood, thicker smoke — as if Owens wanted the women's collection to feel more private than the January event. A good share of the forty-eight looks were designed to be taken apart and worn separately: long vests with cropped jackets, leather skirts with knitwear, which is the two-piece coat logic he keeps returning to.

The show extended the device established by the men's collection in January: the same smoke, the same light, the same building, with TOWER moving from a statement into a womenswear practice. For Owens the theme did not need replacing; what changed was the relationship between body and material.

The reference was Marlene Dietrich. Owens said he has long been fascinated by her mixture of artifice and rigour: the screen siren, the wartime humanitarian and the earlier cabaret performer. The swan's-down coat Jean Louis designed for her was enlarged into something mammoth, made in long-haired goat hide, so that the coat moved like an animal.

Material remained the centre of the work. Kevlar was used as fabric — five times stronger than steel and normally found in body armour — woven in Como by a third-generation mill specialising in performance textiles, then cut into strapless column gowns with a faint sheen. Leather became gym shorts with paper-bag waists and military coats with clasp fastenings; wool, velvet and cashmere were twisted and piled into soft volume. The shoes were platform boots with utility pockets at the shaft.

Beauty completed the story. The make-up and hair, by the Berlin-based artist Bernardo Martins, also known as Figa.Link, included pink and blue lashes, neon streaks, half-shaved heads and long claw-like nails. Owens said he wanted the quality of a gutter rat rather than a club kid, and that distinction mattered: the collection was apocalyptic, but the people in it were still enjoying themselves.

The two-piece coat idea returned as well, a long vest with a cropped jacket that can be worn over it, which Owens described as the most useful thing he has designed. Practical pieces like denim cut-offs and tank tops appeared between the monumental ones, because, as he put it, he promised himself he would live what he does.

The collection also showed a softer side than the January show: velvet, cashmere and mélange wool were twisted and draped, and the make-up brought a melancholy that sat against the armour. Owens described the mood as gritty frivolity, the reaction of people living at the edge of disaster who still choose extravagance.

For communication, the images are unusually consistent: smoke, long-haired coats, platform boots, neon lashes. They can be recognised without a caption and cut easily into short video. For a case library, the show demonstrates how one theme can run for two seasons — the men's and women's collections share a device (smoke, light, the Palais de Tokyo) while material and styling separate the two stories.

Two months on, the show still reads as one of the season's clearest statements about protection as a form of beauty.

Source: public information from lamodeenimages.

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